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Serenity ChoiceTM Music The high-end hearing protection from the no.1 hearing care brand Music levels at concerts generally exceed the safe limit of 85 dB, sound levels beyond this induce hearing damage whether as tinnitus, hyperacusis or long term hearing loss. Serenity Choice™ Music reduces the level of sound by 17 dB making music as loud as 102 dB safe to listen to for up to 8 hours. Serenity Choice™ Music has been designed speci cally for musicians, music lovers and concert goers. The patented membrane lter technology provides a tuned, at attenuation response so all frequencies are reduced by almost the same level, great for music as the listener loses nothing of the original sound, it’s just brought down to a safe level, making Serenity Choice™ Music the best high delity universal ear tips on the market. Serenity Choice™ Music provides an open air passage to the ear, minimising occlusion e ect (low frequency emphasis) while keeping the ear ventilated for optimum comfort. Designed primarily for music applications Serenity Choice™ Music is also suitable for any noisy environments protection applications. Product speciﬁ c beneﬁ ts • A perfect fit is guaranteed: Small, medium and large ear tips in package, extra large size available on request. • Hygienic: Acoustic filters are fitted with advanced mesh technology. They ensure that your ears remain well ventilated at all times. • Hypoallergenic: ear tips are made from medical grade TPE. • Value for money: ear tips can be used multiple times. 17 10 • Natural: Natural hearing is preserved, which facilitates situational awareness. SNR NRR Sound Reduction: Certification Data Serenity Choice™ Music (KM 20) CE 125 250 500 1 2 4 8 Ambient Sound: H M L SNR (Hz) (Hz) (Hz) (kHz) (kHz) (kHz) (kHz) Mean attenuation (dB) 23.6 22.8 22.7 25.8 22.8 15.8 17.4 Standard deviation (dB) 4.6 5.9 5.3 4.6 5.2 2.6 3.6 15 18 18 17 Product applications APV 95% (dB) 19.0 16.9 17.4 21.2 17.6 13.2 13.8 • Enjoy music at safe listening levels ANSI 125 250 500 1 2 3.15 4 6.3 8 NRR • Helps prevent hearing damage at concerts, (Hz) (Hz) (Hz) (kHz) (kHz) (kHz) (kHz) (kHz) (kHz) clubs,bars, etc. Mean attenuation (dB) 23.8 21.6 21.6 25.8 24.7 15.9 15.6 17.1 13.5 • Optimum comfort Standard deviation (dB) 2.6 3.2 2.9 4.8 3.9 2.6 3.2 3.0 4.4 10 • Minimum occlusion APV 98% (dB) 18.6 15.2 15.8 16.2 16.9 - 10.0 - 7.9 In the box 30 dB • 2 ear tips of each size S, M, L 20 dB • Two acoustic filters 17 dB • Aluminum key-ring carrying case 10 dB Attenuation • Multilingual manual 125 250 500 1000 2000 4000 8000 Frequency (Hz).

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Synergy + Firefly Instruction Manual
Brown Manufacturing Group, Inc. FireFly™ & Synergy™ 4661 Stafford SW Wyoming, MI 49548 Instructions 616-249-0200 fax 616-249-3211 www.brownmfg.net US Patent# 10,011,136 [email protected] FY2x36-45 & SY36-84 FireFly Curing System Synergy Pretreat System The Synergy™ Industrial Pretreat Module provides complete multi-variate control of each garment. The system is designed for high volume digital decorators and connects directly to the FireFly curing system, allowing for rapid evaporation of pretreat solution and delivery to the digital output device. $150.00 April 2019 Conveyor Dryer Brown Manufacturing Group, Inc. 4661 Stafford Ave. S.W. Wyoming, MI 49548 Phone: 616-249-0200 Setup Guide Fax: 616-249-3211 www.brownmfg.net [email protected] Assembly A Firefly dryer consists of several modular assemblies BELT TRACKING which are joined together to create a complete conveyor ADJUSTMENT KNOBS dryer unit. Common modules are: TAKEUP ROLLERS OBJECT DETECT SENSORS BELT MOTORS LOAD DETECT SENSORS HEIGHT SENSORS BELT TRACKING KNOBS BELT ROLLERS SCANNER HOLDERS LEVELING FEET Figure 4: TAKE UP ROLLER MODULE Figure 1: DRIVE ROLLER MODULE TOP AIR FILTERS EXHAUST DUCT STARTING COLLARS CAMERA ACCESS PLATES DRONE UPPER CONTROL CABINET CONDENSATION DRONE LOWER CONTROL CABINET CATCH PANS Figure 5: EXHAUST MODULE FRONT BULB COVERS LEVELING FEET Figure 2: PRIMARY HEAT MODULE TOP FILTERS CAMERA ACCESS PLATES DRONE UPPER CONTROL CABINET DRONE LOWER CONTROL CABINET Figure 6: COOLER MODULE LEVELING FEET Figure 3: DRONE HEAT MODULE Assembly Step 1: Ensure Adequate Clearance: Assembly Step 2: Identify and Arrange: Before placing the Firefly modules, it is important to Using the figures in this manual, identify the modules ensure adequate clearance will be available for both the that shipped with your dryer.
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ENGLISH 2810: Television As Literature (V
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Legendary Encounters Rules – Firefly
® ™ A Deck Building Game “You got a job, we can do it. Don’t much and wound the players. If you take damage care what it is.” – Captain Malcolm Reynolds equal to or greater than your health, then you’re defeated. Don’t worry though – another Game Summary player can heal you back into the game. But if Welcome to Legendary ® Encounters: everyone gets defeated at the same time, then A Firefly™ Deck Building Game. In this fully you lose. cooperative game for 1-5 players, you’ll take Some enemies attack Serenity herself. If she on the role of Mal, Zoe or one of the other takes too many hits, then it’s all over. crew members. Your First Game You start with a deck of basic cards and For your first game, follow the setup rules on a special Talent card. At the start of your Page 3, using the specific card stacks listed turn, take a card from the Episode deck and there. This will allow you to play the Pilot place it face-down onto the board. It could Episode “Serenity” and “The Train Job.” be an outlaw thug, an alliance ship, or even (Note: The Pilot episode is split into two a reaver raiding party. You’ll play cards separate Episode Decks.) from your hand to generate Attack, Recruit After your first game, you can play through Points, and special abilities. You’ll use all 14 Episodes of the series or mix and match Attack to defeat enemies and to scan hidden Episodes to play them in a different order.
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Sample File110 TRACEY SMITH
CREDITS Written By: Monica Valentinelli, Mark Diaz Truman, Brendan Conway, Dean Gilbert, and Jack Norris Additional Writing By: Margaret Weis, Rob Wieland, P.K. Sullivan, Philippe-Antoine Ménard, Cam Banks, and Dave Chalker Developed By: Monica Valentinelli and Mark Diaz Truman Systems Design By: Cam Banks, Dave Chalker, Philippe-Antoine Ménard, Rob Wieland, P.K. Sullivan, Dean Gilbert, and Mark Diaz Truman Rules Editing By: Mark Diaz Truman Design and Layout By: Daniel Solis and Thomas Deeny Title Page Art By: Crystal Ben Interior Art By: Marie Bergeron, Kurt Komoda, Ben Mund, James Nelson, Alejandro Monge, and Christopher West Edited By: Amanda Valentine, Alexander Perry, and Sally Christensen Series Research By: Chad Underkoffler Crew/Ship Sheet Enhancement By: Chris “Mr. Gone” Leland Playtested By: Sarah Babe, Amie Barnard, Bill Bodden,Sample Jeff Bridges, fileArcher Cafiso, Paul Cafiso, Dave Chalker, Brad Davies, John Drobina, Mike Fitch, E Foley, John Frazier, Jim Henley, Grace Jacobson, Marissa Kelly, Lauren Lyons, Matt M McElroy, Andie Miller, Matthew Nielsen, Brian Poe, Robert Ramus, Benjamin Rogers, Justin Rogers, Erik Stant, Paul Truman, Mark Diaz Truman, Dennis Twigg, Monica Valentinelli, Rob Wieland, and Ben Woerner STAFF Chief Executive: Margaret Weis Business Manager: Christi Cardenas MARGARET Brand Manager: Monica Valentinelli WEIS Systems Lead Designer: Mark Diaz Truman PRODUCTIONS, ltd. Art Director: Daniel Solis Assistant Art Director: Thomas Deeny MARGARETWEIS.COM MARGARET WEIS PRODUCTIONS, THE MW LOGO, CORTEX SYSTEM,
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The Expanded 'Verse
The Expanded 'Verse: Serialized Transmediality in Firefly/Serenity ............ by Frederick Blichert, BA (Hons.) A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario Submitted August 2014 © 2014, Frederick Blichert ii We know now that a text is not a line of words releasing a single "theological" meaning (the "message" of the Author- God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. Roland Barthes1 iii ABSTRACT Popular narratives often extend textual content across multiple media platforms, creating transmedia stories. Recent scholarship has stressed the permeability of "the text," suggesting that the framework of a text, made up of paratexts including trailers and DVD extras, must be included in textual analysis. Here, I propose that this notion may be productively coupled with a theory of seriality––we may frame this phenomenon in the filmic terms of a narrative being comprised of transmedia sequels and/or prequels, or in the televisual language of episodes in a series. Through a textual analysis of the multifaceted transmedia narrative Firefly (2002-2003), I argue for a theoretical framework that further destabilizes the traditional text by considering such paratextual works as comic books, web videos, and the feature film Serenity (Joss Whedon, 2005) as narrative continuations within a single metatext that eschews the centrality of any one text over the others in favour of seriality. iv ACKNOWLEDGEMENTS I wish to thank Erika Balsom, Malini Guha, André Loiselle, and Charles O'Brien for their notes on various versions, drafts, and proposals of this material, along with Sylvie Jasen and Murray Leeder, who encouraged me to workshop some of these ideas as guest lecturer in their undergraduate courses.
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Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2012 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected] Published version. "Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work," in Joss Whedon: The Complete Companion: The TV Series, The Movies, The Comic Books and More. Ed. PopMatters Media. London: Titan Books, 2012: 285-297. Publisher Link. © 2012 Titan Books. Used with permission. FIREFLY 3.10 3.10 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan For all the standard horror movie monsters Joss Whedon took up in Buffy and Angel-vampires, of course, but also ghosts, demons, werewolves, witches, Frankenstein's monster, the Devil, mummies, haunted puppets, the Creature from the Black Lagoon, the "bad boyfriend," and so on-you'd think there would have been more zombies. In twelve years of television across both series zombies appear in only a handful of episodes. They attack almost as an afterthought at Buffy's drama-laden homecoming party early in Buffy Season 3 ("Dead Man's Party" 3.2); they completely ruin Xander's evening in "The Zeppo" (3.13) later that same season; they patrol Angel's Los Angeles neighborhood in "The Thin Dead Line" (2.14) in Angel Season 2; they stalk the halls of Wolfram & Hart in "Habeas Corpses" (4.8) in Angel Season 4. A single zombie comes back from the dead to work things out with the girlfriend who poisoned him in a subplot in "Provider" (3.12) in Angel Season 3; Adam uses science to reanimate dead bodies to make his lab assistants near the end of Buffy Season 4 ("Primeval" 4.21); zombies guard a fail-safe device in the basement of Wolfram & Hart in "You're Welcome" (3.12) in Angel Season 5.
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I Really Need to Know I Learned from Firefly
This combination of situations has made him a scoundrel trying to ignore his “heart of gold”, his mercenary inten- tions competing with the better instincts and morals of his past. With the scoundrel captain is the proverbial motley tm crew: Wash, the easy-going, wise-cracking pilot; Jayne, the anything-for-a-buck mercenary; Kaylee, the eternally- optimistic ship's engineer, and Zoe, Malcolm's first mate and comrade from the war. (At first blush, it's almost like you could see their character sheets off to the side.) By James Laird Davenport Also along for the ride is 'Inara', a member of an exclu- sive Guild of Companions. or those poor unfortunates who missed its brief She's more than a classy prostitute; she's a romantic- life on television, Firefly was one of the best gam- interest for the hardened Malcolm. Criminals when nec- F ing series ever produced. While it wasn't about essary, the crew seeks 'to keep fuel in the tanks and food gamers per se, it was quite easy to envision that we were on the table'. watching the adventures of a gaming group, in this case At the beginning of the series, they pick up in a space opera campaign. The show had an engaging three passengers who become de facto members of the ensemble of characters, great stories, and a unique vision crew: Simon, the doctor; River, Simon's mentally-addled, of the future. What more could you ask from a gaming fugitive sister; and Shepherd Book, the preacher looking campaign? to experience life outside the monastery.
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Healing Children, Restoring Families Mission Statement the Mission of Serenity, Inc
Serenity, Inc. Foster Care & Adoption Healing Children, Restoring Families Mission Statement The mission of Serenity, Inc. Foster Care and Adoptions is to heal children and restore families, through the use of early intervention programs that can end the cycle of trauma and abuse. Children are resilient, and when provided with therapeutic interventions and a nurturing environment, they are able to thrive despite life experiences of trauma, neglect, and abuse. Serenity is the bridge between the trauma of a child’s placement in the child welfare system, the uncertainty of foster care placement, and the security of a stable permanent home. “A heart at peace gives life to the body” Proverbs 14:30 Value Statements erenity believes children have a right to be safe, loved and nurtured, and to live with their Sfamilies, biological and/or extended. When that is not possible, Serenity works diligently to find permanent, loving, and nurturing homes where caring and committed adults will provide their children with a lifetime of unconditional, positive commitment and support. erenity holds that the child comes first and can best be served in a home-based family Senvironment. Serenity treats every child and his/her family members with genuine respect, kindness, and empathy; each life is worth our investment of time and care. erenity recognizes that services are most impactful when determined, delivered, and Sevaluated with a team approach involving the child, family, and a professional disciplinary team working from a strengths-based model. These services are most effective when provided with a culturally respectful and sensitive approach. erenity embraces and invests in the value of accountability to assess and manage overall Sperformance, to self-correct when needed, and to innovate in order to achieve positive outcomes.
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You Can't Take the Sky from Me
“You Can’t Take the Sky from Me”: An Ethnographic Case Study in Community Construction A Senior Honor Thesis Presented in Partial Fulfillment of the Requirements for Graduation with Research Distinction in Comparative Studies in the Undergraduate Colleges of The Ohio State University by Michael Wiatrowski The Ohio State University May 2010 Project Advisors: Professor Dorothy Noyes, Departments of Anthropology, Comparative Studies & English Professor Amy Shuman, Departments of Anthropology, Comparative Studies, English & Women’s Studies. ii Take my love, Take my land, Take me where I cannot stand. I don’t care, I’m still free, You can’t take the sky from me. Take me out, To the Black, Tell ‘em I ain’t coming back. I don’t care, I’m still free, You can’t take the sky from me. There’s no place I can be Since I found Serenity. You can’t take the sky from me. ~ The Ballad of Serenity iii Table of Contents Introduction Contemporary Community Construction 01 Context Deconstructing Firefly 05 Creating Spaces 11 Cultural Constructs I: Form and Use Language 15 Narrative 18 Visual Art 21 Clothing 22 Music and Multimedia 25 Cultural Constructs II: Imagining, Creating and Maintaining Community Creating & Maintaining Community through Meaning 29 Imagining Community 33 Complicating the Matter The Dynamics of Cultural Consumers and Producers 35 Conclusion The Contemporary Community in Review 37 Appendices A Supplemental Catalog of Images 39 A Common Browncoat Lexicon 45 Browncoat Chinese with Translations 51 References and Resources 54 1 Contemporary Community Construction “Community” is one of those words – like folklore, myth, tradition or ritual – that is casually tossed about in everyday speech, a word which is apparently readily understood by both speaker and listener.
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Serenity Rehabilitation & Health Center Indoor/Outdoor Visitation
Serenity Rehabilitation & Health Center Indoor/Outdoor Visitation Policy Revision Date: 05/07/2021 POLICY: To ensure residents and their visitors have safe, protected, and monitored indoor visitation during the COVID-19 pandemic crisis, and ensuring an adequate degree of privacy for residents and their visitors. All visits will be based on the COVID-19 status of the facility. Outdoor visitation is still preferred over indoor when possible. Visitation indoors will only occur if the following criteria are met: • There must not be any new facility-onset of COVID-19 cases in residents or staff. If Serenity Rehab and Health Center has only one case in resident or staff, then approval by the DC Health COVID-19 Healthcare Facilities Team will be required to start/continue indoor visitation. • Serenity Rehab and Health Center will be discontinuing weekly testing for fully vaccinated residents and staff unless there is a specific reason to do so (such as an ongoing outbreak within the facility). However, weekly surveillance testing is mandatory for all staff that are not vaccinated or not fully vaccinated. • The resident being visited must not be undergoing quarantine (including observation) or isolation for COVID-19 exposure or infection respectively. • Serenity Rehab and Health Center must not be undergoing testing related to a confirmed or suspected outbreak. Visitation may be approved to continue if transmission of COVID-19 is controlled. Serenity Rehab will follow the “Visitation during Outbreak” guideline revised by the DC Health visitation requirements. • Serenity Rehab and Health Center will have a 14-day supply of all Personal Protective Equipment (PPE) that would be necessary to respond to an outbreak, without dependence on or public health stockpiles.
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Teaching Firefly
Teaching Firefly James Rocha California State University, Fresno In this paper, I will examine my experiences in teaching value theory, broadly construed (including political philosophy, ethics, and existentialism), through Joss Whedon’s Firefly. What I hope to show from these experiences is how using science fiction engages the students, enlivens discussions, and provides fully thought-out examples that allow us to think about philosophical issues in unique and useful ways. Before addressing these specific issues, it will be useful to note why science fiction in general is helpful for philosophy teaching in these sorts of ways. Let’s examine how science fiction can assist the teacher of political philosophy. A significant part of political philosophy involves examining societies, both ideal and non- ideal, while considering numerous conditions and circumstances that have likely never existed in real life. While historical and contemporary examples are sometimes useful, they often run short. Yet, purely made up examples often lack the fleshed-out details necessary to fully analyze the philosophical issues, e.g. what an anarchist society might look like or what practical problems you might run into when attempting to encase freedom in unchartered territory hidden away from the watchful eye of empire. Fortunately, in such cases, we have science fiction to provide us with a helping hand. My primary claim here then is that science fiction provides elaborate examples that allow philosophers to test out their intuitions with checks and balances provided by writers who seek to create fictitious, but plausible universes. That is, the philosopher cannot develop an entire, detailed universe for the purpose of describing a theory.
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Fan Campaigns of Firefly and Veronica Mars
I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. Simone D. Becque May 18, 2007 Big Damn Fans: Fan Campaigns of Firefly and Veronica Mars Simone Becque Thesis 2007 Department of Sociology and Anthropology Advisor: Eleanor Townsley Table of Contents Acknowledgements i Table of Figures ii Table of Appendices ii Chapter One: You Can’t Take the Sky from Me 1 Studio 60: Criteria for Fan Campaign Development 3 Television Programming 6 Technologies and Fan Practices 8 What about Other Campaigns? The Selection of Case Studies and Methods 13 TV As the Final Frontier: The Importance of Alternative Production Space 14 Chapter Two: Still Flying, the Fan Campaigns for Firefly 17 Welcome to the ‘Verse 17 Production 19 This is Joss, Space is Black and Scary: the Whedon Timeline 22 Fan Campaign Efforts 27 Language of the ‘Verse: “Your ‘Verse Your Words” 33 They Were Glemphy: the Narrative of Fox 36 The Neighborhood Pub: the Social Element of Fan Campaigns 37 Still Flying? 38 Chapter Three: Veronica Mars, a Fan a Day Keeps Cancellation at Bay 40 Veronica Mars 41 Friends in High Places: the Role of Mainstream Media 43 Actors/Creators and the Fan Importance Narrative 46 The Documentation of Fan Efforts 54 Conclusion You Can’t Stop the Signal 68 My Barack Obama [dot] com: Fan Campaigns and Politics 68 Locating the Power in Television Programming 71 Still Flying: the Release of the Fan Importance Narrative 73 Tables 75 Appendices 78 Bibliography 92 i Acknowledgments This project would not have been possible without several groups of people helping and supporting me along the way.
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